Devi

Venkata Kavi has composed a few compositions on different forms of Devi such as Raja Rajeshvari, Meenakshi, Sati (Paarvati), Tripura sundari. However, his magnum-opus creations are the Kamakshi Navavaranams which includes a set of twelve krtis commencing from the Vinayaka stuti and ending with the Phala stuti on Goddess Akhilandeshvari. These compositions are a huge subject of study and research for the acamedic scholar as well as the practising musician as they are interwoven with highly intricate details of Srividya upasana (a form of Devi worship) and sophisticated musical details.

Venkata Kavi has also composed on Sarasvati (the Goddess of Learning). There are two compositions in Kalyani on Goddess Sarasvati but both of them reveal different perspectives of the ragam. Sarasija bhava jaaye in Adi (tishra gati) is a masterpiece in this raga without any usage of madhyama kaalams with a refreshing approach to the Adi – tishra gati tala structure as against many other compositions that are available in the same raga and tala. This is mainly because it contains a lot of pre-beat rhythmic usages (ateeta graha prayogas) and has a lot of svaraksharas too. The other composition in Roopaka talam is Geeta rasike sugunaalaye. This song contains two madhyamakaalams in the Pallavi –

"One who enjoys the melody, rhythm and soul of the music emanating from Krshna's flute and the wondrous rasa geeta"

This again explains how Venkata Kavi connects to his favourite deity even in the context of this composition which is addressed to Goddess Sarasvati . Given below is a list of Devi Krtis (not exhaustive)